From Mickey 17 and M3gan 2.0 to a musical about the end of the world, this was an eclectic year for science-fiction films. Some ideas are so compelling, so intuitive, one would sooner recycle them than take them apart to explore. So, in 1950, Isaac Asimov fixed up some puzzle stories into a fiendish, Agatha Christie-in-space sci-fi novel, I, Robot, while in 1968, Stanley Kubrick's 2001: A Space Odyssey set a high bar for films about (or at least containing) artificial intelligence. There, ideas-wise, the story of robots in cinema pretty much starts to repeat on an endless loop. This year, The Electric State spun a yarn about a robot rebellion, M3gan 2.0 showed you can't keep a good killerbot down and Companion took the femmebot's point of view to give us a decent adult-themed Asimov pastiche. All three toyed with the usual notions around free will and indulged in handwringing about when to treat a machine like a person.

Holiday travelers face increased scammer attacks using leaked personal data from airlines and hotels to send fake flight cancellations and payment requests.

Xpeng's Next Gen Iron humanoid robot fooled viewers who thought it was a human actor, prompting CEO He Xiaopeng to cut into the robot's leg to prove its authenticity.

Secretary of War Pete Hegseth highlighted the nation's "Drone Dominance" push for mass U.S. military drone adoption, noting plans to deliver tens of thousands in 2026.

Adverts for Nike, Superdry and Lacoste have been banned for making misleading claims about their green credentials. The UK's advertising watchdog challenged the brands over the use of the word sustainable in paid-for Google ads which were not backed up by evidence of their sustainability. The Advertising Standards Authority (ASA) identified three adverts from the retailers promising customers sustainable materials, sustainable style and sustainable clothing. The UK's advertising code states that the basis of claims about environmental sustainability must be clear and supported by a high level of substantiation. In each case, it asked the companies for evidence to back up the claims about the sustainability of the products.

What is in the 28-point US plan for Ukraine? 'Ukraine is running out of men, money and time' Can the US get all sides to end the war? Why is Europe opposing Trump's peace plan? Here's where things stand on Wednesday, December 3: Russian forces attacked Ukraine's Kherson region, using "rocket launchers, mortars and drones", killing a 76-year-old woman and injuring at least two other people, the Kherson Regional Prosecutor's Office said in a post on Telegram. A Russian drone attack killed one person and injured five people in the eastern Ukrainian city of Kramatorsk, the head of the city's military administration, Oleksandr Honcharenko, wrote on Facebook.

Indie video games developed on modest budgets by individuals and small teams are gaining traction in Japan for their innovative ideas and variety often absent from major studio titles. Advances in development tools have helped lower barriers to entry, spurring a surge in creators and driving rapid market growth. Competition has intensified, however, and only a handful of titles achieve commercial success. The Tokyo Game Show 2025 took place in September at the Makuhari Messe convention center in Chiba. A short walk from the towering booths of major publishers such as Square Enix and Sega was the Indie Game Area, a cluster of compact stands outfitted with little more than personal computers and monitors.

Recent advances in video large language models have demonstrated strong capabilities in understanding short clips. However, scaling them to hours- or days-long videos remains highly challenging due to limited context capacity and the loss of critical visual details during abstraction. Existing memory-augmented methods mitigate this by leveraging textual summaries of video segments, yet they heavily rely on text and fail to utilize visual evidence when reasoning over complex scenes. Moreover, retrieving from fixed temporal scales further limits their flexibility in capturing events that span variable durations. To address this, we introduce WorldMM, a novel multimodal memory agent that constructs and retrieves from multiple complementary memories, encompassing both textual and visual representations. WorldMM comprises three types of memory: episodic memory indexes factual events across multiple temporal scales, semantic memory continuously updates high-level conceptual knowledge, and visual memory preserves detailed information about scenes. During inference, an adaptive retrieval agent iteratively selects the most relevant memory source and leverages multiple temporal granularities based on the query, continuing until it determines that sufficient information has been gathered. WorldMM significantly outperforms existing baselines across five long video question-answering benchmarks, achieving an average 8.4% performance gain over previous state-of-the-art methods, showing its effectiveness on long video reasoning.

Despite progress in video-to-audio generation, the field focuses predominantly on mono output, lacking spatial immersion. Existing binaural approaches remain constrained by a two-stage pipeline that first generates mono audio and then performs spatialization, often resulting in error accumulation and spatio-temporal inconsistencies. To address this limitation, we introduce the task of end-to-end binaural spatial audio generation directly from silent video. To support this task, we present the BiAudio dataset, comprising approximately 97K video-binaural audio pairs spanning diverse real-world scenes and camera rotation trajectories, constructed through a semi-automated pipeline. Furthermore, we propose ViSAudio, an end-to-end framework that employs conditional flow matching with a dual-branch audio generation architecture, where two dedicated branches model the audio latent flows. Integrated with a conditional spacetime module, it balances consistency between channels while preserving distinctive spatial characteristics, ensuring precise spatio-temporal alignment between audio and the input video. Comprehensive experiments demonstrate that ViSAudio outperforms existing state-of-the-art methods across both objective metrics and subjective evaluations, generating high-quality binaural audio with spatial immersion that adapts effectively to viewpoint changes, sound-source motion, and diverse acoustic environments. Project website: https://kszpxxzmc.github.io/ViSAudio-project.

The rapid rise of AI-generated art has sparked debate about potential biases in how audiences perceive and evaluate such works. This study investigates how composer information and listener characteristics shape the perception of AI-generated music, adopting a mixed-method approach. Using a diverse set of stimuli across various genres from two AI music models, we examine effects of perceived authorship on liking and emotional responses, and explore how attitudes toward AI, personality traits, and music-related variables influence evaluations. We further assess the influence of perceived humanness and analyze open-ended responses to uncover listener criteria for judging AI-generated music. Attitudes toward AI proved to be the best predictor of both liking and emotional intensity of AI-generated music. This quantitative finding was complemented by qualitative themes from our thematic analysis, which identified ethical, cultural, and contextual considerations as important criteria in listeners' evaluations of AI-generated music. Our results offer a nuanced view of how people experience music created by AI tools and point to key factors and methodological considerations for future research on music perception in human-AI interaction.